The Association for the Advancement of Creative Musicians (AACM), known for its musical explorations that push traditional realms into another listening orbit, brings its avant garde stylings to Manhattan’s Symphony Space (2537 Broadway at 95th Street) in the Leonard Nimoy Thalia Theater on Nov. 8 (7:30 p.m.).
The AACM Concert Series 2024 (New York City chapter established in 1983) will present a celebrated group of music visionaries featuring vocalist/composer Iqua Colson with renowned string musicians, violinist Marlene Rice, guitarist Brandon Ross, NEA Jazz Master bassist Reggie Workman, and pianist Adegoke Steve Colson. The program also features Declan Sheehy-Moss.
Iqua Colson delivers an inventive vocal style that swings in spirited lyricism and improvisation. In the Downbeat AACM 50th Anniversary issue, vocalist/educator Colson is described as one of the ‘ACCM’s Powerful Women,’ along with pianist-composer-singer Amina Claudine Myers, and flutist Nicole Mitchell, among others.
Related: AACM, Breathe, Jazz for Lunch, ‘The Conductor’ – New York Amsterdam News
Adegoke Colson fits into that small category of genius piano composers whose work effortlessly flows from trios to orchestras. He’s arranged, orchestrated, and conducted the music of Willie “The Lion” Smith for the national Lost Jazz Shrines project, collaborating with artist Willie Cole, as well as poet, author, and revolutionary Amiri Baraka. On his acclaimed album “The Untarnished Dream,” he leads a trio featuring jazz masters Andrew Cyrille and Reggie Workman, with musical partner and wife Iqua on several vocal tracks, released on the couple’s Silver Sphinx label.
Workman joins Colson as an independent jazz institution. Not being aware of Workman is like saying “Oh, I didn’t know birds had wings or a bass has strings.” Briefly, the bassist enjoyed a long-standing recording and touring stint with John Coltrane, Art Blakey, and the Jazz Messengers, Max Roach and Thelonious Monk, and a decade with Trio 3 featuring Oliver Lake and Andrew Cyrille. When not performing, he is a professor at the New School College of Performing Arts. As we reference Workman’s illustrious career, one may wonder why such an icon isn’t busy on month-long residencies at clubs like the Blue Note, or at least a week at Dizzy’s or Village Vanguard, hmmm?
Brooklyn native, tenor saxophonist, and electronic wind instrument (EWI) player Declan Sheehy-Moss, with his latest ensemble Bounce, offers the perspective of a younger generation combining elements of modern jazz, pop, and funk; guitar pedals and other electronics are used alongside typical acoustic instruments to broaden the sonic orbit of so-called jazz. His exuberant musicians include pianist and prophet Rahul Carlberg, drummer Alex Yoo, guitarist Tim Watson, and bassist David Macchione.
The AACM continues at Symphony Space on Nov. 20 with two performances led by master percussionists and composers Reggie Nicholson and Thurman Barker. The latter will feature cellist Akua Dixon, vocalist Fay Victor, pianist Rob Schwimmer, and Barker.
It is a rare occurrence for AACM (co-founded in Chicago 1965) to present its annual concerts on Manhattan’s Upper West Side. It is a surprise and rare treat for music voyagers. Their shows usually take place on the Lower East Side, which seems like the real incubator where avant gardism strives. However, it seems whenever the music comes uptown it blossoms, and clubs featuring such great musicians get an opportunity to share their artistic concepts with new audiences and, of course, fans, who like their music somewhat out of the traditional jazz ethos.
For complete listings and ticket info, visit symphonyspace.org or call 212-864-5400.
For some, New Jersey is considered geographically undesirable and a hassle to get to. But since its 1997 inception, the New Jersey Performing Arts Center (NJPAC) in Newark has become more desirable and will be even more enticing with the 13th Annual TD James Moody Jazz Festival running from Nov. 7-24. Presented at various locations throughout Newark, the 2024 festival comprises an eclectic range of jazz-infused performances with interpreters of the Great American Songbook John Pizzarelli and Catherine Russell to Pulitzer Prize-winning percussionist Tyshawn Sorey.
Nov. 14 will be one of the festival’s most engrossing evenings and will corral funksters, rockers, R&B, and jazz folks in one space featuring the likes of
Philly’s GRAMMY-winning soul vocalist Bilal; vocalist, songwriter, producer Nona Hendryx; bassist Christian McBride; tap dancer Savion Glover; guitarist Vernon Reid (Living Colour founder), and legendary funkmaster George Clinton, with Ray Chew as musical director. The musicians will celebrate the hits of p-funk, Prince, and James Brown.
That big band thrill with a roaring brass section, cascading piano harmonies, hard-hittin’ drum licks will rise-up as NJPAC’s Jazz Advisor Christian McBride leads his big band with a fierce lineup of vocalists: Philip Bailey (Earth, Wind & Fire), Lisa Fischer (Rolling Stones, Luther Vandross) and National Endowment for the Arts (NEA) Jazz Master Dianne Reeves. The festival ends Nov. 24 selecting the winner of the annual Sarah Vaughan International Jazz Vocal Competition. Complete festival details can be found at NJPAC.org/jazz.
Most recently, the Jazz Foundation of America (JFA) presented its weekly Thursday Afternoon Live from Harlem Series at the National Jazz Museum in Harlem, with featured guest Teddy Royal. Who is he? I had no idea. The JFA promo noted he was Fats Domino’s guitarist for 30 years. What, he played with Fats Domino, aka “The Fatman”?! Damn, I gotta go, if he played with one of the most electrifying R&B, blues singers in America, he has to be at least exceptional.
Royal did not disappoint and he was a total delight. The museum was packed to standing room only. Royal and his trio, organist Richard Budesa and drummer Zac Kreuz, were blazing. They offered fiery jazzy blues interpretations of standards like “When the Saints go Marching In,” Wes Montgomery’s “California Nights,” Miles Davis’s “So What,” Fats’s own “I’m Walkin,” and originals by Royal “Tomorrow I Shall Love You,” “Morning Groove,” and “Red Beans.” Royal, who currently lives in Atlantic City but spent 40 years in New Orleans, inherited that Crescent blues sound infused in his bold guitar licks reminiscence of his idol and influence Wes Montgomery. “I can feel his music whenever I play,” said Royal. “I’ve always wanted to play in New York as a leader. I’ve played here in the past mostly at the Apollo Theater, and the Beacon Theater with Fats but man, this is my first time playing here as a leader, I finally made it, this is a real honor.” He started his career as a teenager playing with the Four Pennies, who were from Tampa, Florida. The group’s leader John Myers had to get permission from Royal’s mom to join them on tour. They played throughout Canada, as well as the Sugar Shack in Boston.
Over the years, Royal’s soul guitar was an asset to such artists as Patti LaBelle, the Staple Singers, Neville Brothers, blues harmonica singer James Cotton, Allen Toussaint, Koko Taylor, and Lou Rawls. He appeared on King Floyd’s hit single “Groove Me,” and toured with R&B, blues singer Dorothy Moore of “Misty Blue” fame, playing at Madison Square Garden on a few occasions. As a member of Domino’s band, he appeared on Clint Eastwood’s film soundtrack “Every Which Way but Loose” (1978). Royal has recorded four albums as a leader. “I would love to play at Birdland, I’m well-seasoned and ready to play,” said Royal. The JFA performance can be seen on YouTube along with some of his other outstanding performances.